[Joseph Owens]

[Roy Feldman] “Every other editor I’ve used has had this availability to choose audio, video or both.”

“You can also disable the video or audio destination controls in situations where you want to edit a source video clip into the Timeline without its audio, or vice versa.

To disable or reenable a destination control, do one of the following:
–> Click an already assigned destination control to toggle it off and then on again.”

The destination controls are the icons found in the timeline header.
Its very much like the patch field connectors in the Final Cut timeline header.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Marc Wielage] “The front porch is too wide to be legal.”

Meet you in the breezeway, then. Oh, wait a minute, I’m blanking.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Kevin Kunze] ”
I’m looking to upgrade my Mac laptop so I can do smoother color correction with DaVinci Resolve including using 4K footage.”

Have you consulted the Black Magic Resolve configuration pdf? The “new” MacPro is extensively discussed in the newer version of that document, mostly in regard to Resolve 11, and if you want to step back into the silver towers’ requirements and recommendations, the Resolve 10 pdf has a lot of information, especially regarding drive speeds, VRAM and GPU configurations.

Be aware that most laptops are just barely capable of playing 1080 HD, and start breathing hard if coping with 2K. 4K is pretty much out of reach for even a standard-configuration MacPro over 2-3 years old. some operators are reporting flaky response from the newMacPro coffeecans if they aren’t built out specifically for UltraHD or higher. More than GPU is required for 2K and above… a dual-Titan Black or equivalent build gets you in the ballpark for UHD and above at at least half-good resolution for some source media like R3D, even without a Rocket for decode acceleration. Higher-density bitrate material, ProRes444 would start being a challenge, and I really doubt that 4K RGB dpx files would play at more than a few frames per second.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Ruben Contreras] “Can someone shine some light as to why it needs to be set on this setting and not auto or video? Differences?”

Its a scaling issue. 444 in either ProRes or DnXHD appear to get ambiguously decoded by Quicktime or whatever profiling engine is in play in the NLEs — which can’t pick whether its RGB or Y’CbCr, or whether the video range is set to the graphic profile of (essentially) 0-1023 (which Resolve correctly calls 4-1019) or 64-940, which is Rec709 HD “Linear Video”… the broadcast standard of 0-100 IRE which allows for over- and under-shoots in the video waveform. That is, so you can have -20 and +120 without clipping the original.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

When you consolidated the media, did you actually re-compress the source clips to an intra- format like DNX?

I usually associate frame slippage with ambiguous time code or Long-GOP codecs. Used to be a fairly routine error with almost every external grading application I’ve ever used that some codecs, like XDCam, HDV, and so on will slip like this.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

The most brute simple method to apply a correction to an entire timeline at once is to change the “Nodes” mode from “Clip” to “Timeline.”

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Mark Davies] “I can see that you can edit in Resolve, but was wondering what you guys are doing. Do you edit in FCPX (or other NLE) or do you actually do all the work in Resolve now please? “

It depends on the scale and budget. Edit software is more than just bout whether you can do a cut or a dissolve and scrub/mix the audio and add a title.

One of the core features of the re-conception of Final Cut was to implement an entirely new method of cataloguing the media resources available to the project. All that gak about magnetic timelines and blah, blah, blah was utterly beside the point — similar to arguing the finer points of say, some kind of exotic intimate human relationship technique when you don’t actually have a real boy- or girlfriend. My point being that technique without meaning is a waste of time and energy.

I get most projects sourcing from just about every NLE in general use (but almost zero from FCPX… so I do mean “in use”). My major business is as a grade service provider, so my part is (optimistically) after lock. I have cut a few EXTREMELY SIMPLE projects in the Resolve timeline. Yeah, it worked. Meh.

What is good about it for me is that revisions, when they do come, are not the major catastrophe that they used to be that would corrupt XML round trips, lose linked sources, and any number of other innocent nightmares.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Garnet Campbell] “I think its of interest because of that fact that you and your client might be looking at your color grade and be seeing two different things.”

After 40 years of working with color, its part of the experience that I can guarantee we are. A skillset tool that a professional colorist needs to work successfully is exactly that — to take into account all the different perceptions and organic variations present in the client environment. There are individuals who don’t see color at all. That was an interesting session.

Personally, I don’t care what the initial perception of the dress is — ultimately my job is to make it what people are generally likely to agree on. The eyedropper sample set pulled in Photoshop is just a bunch of RGB values whether its a dress or not, and kind of makes the case for not banging away on the auto-white balance button.

What is absolutely true is that color is not absolute.

https://www.bbc.co.uk/blogs/legacy/tv/2011/08/horizon.shtml
https://eagereyes.org/blog/2011/you-only-see-colors-you-can-name

The second one is interesting — scroll down to the video about the “Himba” tribe.
Note — unfortunately the BBC has bokoed the video everywhere but if you can find the “Horizons” episode, there is a segment where they cannot point out a differently colored dot on a screen that is totally obvious to most viewers.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

This whole thing is a ridiculous blather-troll that only those who don’t understand color temperature shift, metamerism, simultaneous dynamic contrast, or principles of photography might find interesting.

I’m sure Hitler and anti-Obama-ism are also factors.

I see all the colours and I could fix them, too. This is not a color-blindness test, that is what the Ishihara plates are for: https://colorvisiontesting.com/ishihara.htm

At one point, I was going to see if I could make my company logo out of one of these dot-combinations… which would tend to filter out a certain number of problem clients….

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Enginn Heima] “What monitor and which blackmagic hardware I should get without ruining myself?”

You can’t go far wrong making your economic decisions based on the BlackMagic Configuration Guide — which does outline several scenarios for both Windows and Mac platforms. Hackintosh is an adventurous option — it can be done — but be prepared to do a lot of online browsing.

Have a good read — https://www.blackmagicdesign.com/support/family/davinci-resolve

…and beware that the guide diverges between version 10 and 11, with V11 being more “New”MacPro-oriented. However, there are plenty of tips as to how to use external devices to build around Laptop-class PCs, which are applicable to non-conventional build-outs.

Good luck.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.